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The Catalogus Librorum Musicorum of Jan Evertsen van Doorn.

(Catalogi Redivivi.) Utrecht: HES Publishers, 1996. [102 p. ISBN 90-6194-2284. f. 132.50.]

Jan Evertsen van Doorn was a bookseller and publisher active in Utrecht from about 1610 until his retirement in 1644. In addition to books, he also stocked music editions in a variety of genres, and in 1639 he published a Catalogus Librorum Musicorum listing all the music he had for sale. Though its existence was known through literary sources, Doorn's catalog was long thought to be lost. A copy survives in Paris at the Bibliotheque nationale, however, and is reproduced here in facsimile.

In addition to this facsimile, the present volume includes a transcription of the original text with bibliographical annotations inserted. Three excellent indexes, "Composers and Editors," "Printers and Publishers," and "Lost Editions," provide easy and useful access to both the facsimile catalog and its transcription. The publication is graced with an introductory essay by Henri Vanhulst that places both the catalog and its contents in perspective within the musical milieu of their day. The essay codifies the careful and thorough study Vanhulst has obviously devoted to this document. Chief among the essay's most helpful features are six statistical tables that provide information on various aspects of the catalog, including chronologies of domestic and foreign editions, percentages of composers by nationality, and geographical distribution of printers and publishers.

As one would expect, Vanhulst's work benefits greatly from the existence of the Repertoire international des sources musicales (RISM), and references to that census appear throughout the annotations. Of course even RISM cannot yet answer every question concerning music printed before 1800, and twenty additional sources are listed in the bibliography.

In our present post-RISM era, perhaps the greatest value in reproducing and studying such catalogs is the evidence they bring to three areas of historical and bibliographical concern. These are the dissemination of specific editions and repertories across Europe; the complexion of musical taste and awareness in a specific locale; and the documentation of lost works.

Vanhulst demonstrates that a great number of Italian editions made their way north through Doorn's orders and sales. The evidence indicates increasing stocks of Italian music after 1627, presumably reflecting a growing demand. Moreover, the degree of completeness in the catalog's entries, including printer or publisher and date, shows that Doorn sold the original Italian - indeed, largely Venetian - imprints, not the northern reissues available from Phalese and other Netherlandish printers. The Italian editions are augmented by imprints from France, Switzerland, Germany, the United Provinces, and the Spanish Netherlands. A large percentage of these imprints are anthologies, whereas the Italian editions generally tend to be the works of individual composers.

Something of the musical tastes of seventeenth-century Utrecht may be inferred through the catalog's listings. Indeed, Vanhulst indicates the long-accepted view that Utrecht's interest in music was very slight now requires serious revision, in light of the evidence presented here. The standard sacred and secular vocal genres of mass, motet, litany, psalm, hymn, madrigal, French and Dutch chanson, villanella, and aria are all represented. Stocks printed after 1599 show an increasing presence of both Catholic masses and motels and Calvinist French and Dutch psalms. Instrumental music is represented by works for organ, harpsichord, lute, and guitar. Vanhulst remarks on the paucity of lute books, but by this point in the seventeenth century the lute was rapidly declining in favor, while the five-course guitar was on the rise. Sets of dances for instrumental ensemble by Hendrik Libertl and Jan Baptist Verrijt are also represented. Though no operas are listed, the catalog contains some stage music, including a number of madrigal comedies by Adriano Banchieri.

Lost works fall into three categories: previously unknown editions of extant works, previously unknown works by documented composers, and editions wherein both work and composer are undocumented. Eighty-six lost works are listed in the third index and helpfully marked with asterisks in the transcription of the catalog's text.

These eighty-six lost works constitute the greatest challenge presented by this catalog, as they demonstrate the degree of imperfection from which our bibliographical knowledge still suffers. They underscore the need for further study and the continuing importance of finding and reproducing original catalogs and bibliographies.

CALVIN ELLIKER University of Michigan
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Author:Elliker, Calvin
Article Type:Book Review
Date:Sep 1, 1998
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